164 , ",' "'., ''h . . . THE . . ßJwet PARK AVENUE Be 57TH STREET COOPERATIVE APARTMENTS OFFERED FOR SALE SUPERBLY SPACIOUS SUITES OF TWO TO FOUR ROOMS FURNISHED OR UNFURNISHED SERVING PANTRIES FULL HOTEL SERVICE The Ritz Tower offers a standard by which distinctive living may be judged. Tenant ownership, with su- perior hotel service affords signifì- cant economies and substantial tax deductions. Apartments are avail- able with living rooms up to 30'; bed rooms up to 20'; serving pan- tries; huge wal k-in closets IMMEDIATE OCCUPANCY Under Management of Ambassador Hotel Management Corp. To inspect, visit our office Room 304. Open daily 9 A.M. incl. So,. & Sun.; or, call PLaza 1-3390. RIKER & CO., INC. Sales Representatives OFFERED TO RESIDENTS OF N. Y STATE 'J j Ji,... Îftj?a ( I '< r lt' .'Â t (<, , ..... þ . ;rf 1 ;, lr tr I h i if. It , > c:: If t"" . , ' ....,: .: \ I ........, : . '. f l' \,:: .ç;. -- t . , ,Jx..J.$: !. 'f" .-...... { ':\" .. .. .... '< '''.:.. fM }'<' il "I =i ,/ : ;.-.: . t !! ==4' d1 Ii t . . ..- Vi :::- .' \ ... - I ' . " .. _. ..- 'I: . # ".t ,. " IWW> z' i . '"", u.-. <<\0.. .I (!., .!-",,-, ,......"""""-- ' AN ADDRESS OF INTERNATIONAL PRESTIGE the beginning of the nIneteenth century to the present, and the number of paInt- ings included is well over a hundred. Even these are not too many, and the air of the exhibition is brisk and lucid as it unravels the at times tangled pattern of British art. For the most part, only a few artists are chosen to represent each period-if British painting can be said to have had "periods," since, apart from the Pre-Raphaelites and a few random cliques like the Camden Town Group, the Chelsea Group, and the Beaux-Arts Realists, its history shows no "schools" or sustaIned and concerted movements. In any case, the method of selection works out very well indeed, for it per- mits greater emphasis on individual de- velopments, to the partial exclusion of their chronological importance. Thus, Constable and Turner begin the procession by themselves, with what is in many ways the best section of the show. It's so good, and so extremely "modern" in atmosphere, that I sus- pect some sleight of hand was involved in the selection-a sly stackIng of the cards to get just the right examples to point up contemporary or near-contem- porary relations. One can hardly look at Constable's "Salisbury Cathedral from the River," "Weymouth Bay," or the big, shaggy landscape called "Stoke- by-Nayland" without being vividly re- minded how much the Impressionists owed to him, or at Turner's pink, cloudy "Interior at Petworth" and the swirlingly patterned "Snowstorm" I ,,', wifhout thinking how heavily, if per- haps indirectly, a good many even more recent artists are indebted to him. William Blake, the mystic, comes next, with a small but stunning array of examples, of which I liked best "The WIse and Foolish Virgins" and the statuesque "Satan Arousing the Rebel Angels," and then the Pre-Raphaelites have a small chamber of horrors all their own, where one can ponder at leisure the sentimentality of William Holman Hunt's "The Awakening Conscience," the syrupy sweetness of Millais's "The Blind Girl," or the fustian morality of Ford Madox Brown's huge apotheosis of the poor but honest laboring man called "Work." MeantIme, a number of artists now only vaguely remem- bered have been revived. Save for Blake and a couple of others, the basIc influence in nineteenth-century British art was Dutch, and one sees its effect in such pieces as Richard Parks Bon- ington's broad, peaceful "Scene in Normandy" and the equally placid land- scapes of John Crome and John Sell OCTOBER Ij, 195 b A-head of fashion .... ." . .:.:.:òþ..J: ... , .zÜ , ::.} .?.... ..f.. .-.". .::. :. ." .":. 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